[pure-silver] Re: Dry Mounting REALLY permanent?
- From: Jean-David Beyer <jeandavid8@xxxxxxxxxxx>
- To: pure-silver@xxxxxxxxxxxxx
- Date: Wed, 13 Oct 2010 20:26:23 -0400
Adrienne Moumin wrote:
> Thanks, Robert, Richard & Ken, for your responses to my query about
> "wrinkling" release paper (dry mount pressure was too tight, I
> discovered). With trial/error/tweaking, I got beautifully &
> firmly mounted prints this evening, but further testing of the bond
> uncovered a brand new query.
>
> Prior to this, I had been using a dry, pressure-sensitive adhesive
> (Studio-Tac) for my photo collages. I live in a *very* damp climate,
> w/my studio & display space in the basement. When I showed some work in
> a dryer climate last winter, a horribly dry/overheated place, edge
> separation of the prints from the matboard substrate became increasingly
> evident over the course of the month. (Luckily for me it was a sparsely
> attended venue!)
I tried some spray stuff for mounting prints. I never mastered the
techniques of getting the stuff uniformly on the back of the print, and
of getting none of it on the front of the print, so I gave it up after
less than one aerosol can of it. Those that seemed mounted OK eventually
fell off the mat board after a while (around a year, IIRC).
I next tried some double-sided sticky light card stock. It worked well,
but was not permanent. I have no idea as to its archival properties.
>
> An ingenious friend who saw the show, a former pre-digital pro photog
> known for painstaking building of his own sets, etc., suggested I test
> the dry mounted prints for edge separation, in an effort to avoid this
> situation in the future. The results were not good. Per his
> suggestion, I put the drymounted prints (two 11x14's, butted up against
> each other on a long, narrow strip of matboard-a typical collage
> composition) into my homemade film drying cabinet, a well-sealed plywood
> box with a hairdryer nozzle sticking thru a hole in the bottom of the box.
>
> I turned the 1500W hairdryer to the "hot" and "high" settings, placed
> the short edge of the board on the floor of the cabinet, closed the
> door, and let it run for about 15 minutes. The bottom 1/2 of the board
> (closest to the hairdryer) curled away from the print, almost completely
> delaminating the print from the board. The top half fared much better,
> with the bond failing only on the edge closest to the hairdryer.
>
> I assume I subjected this sample to extreme conditions....or *did* I? I
> keep remembering that overheated dry room last winter, enough to make
> one's skin crawl, and wonder whether the hairdryer in the cabinet was
> *really* much more extreme?
It may have been too extreme. You do not wish to melt the dry mount
tissue when testing it.
>
> I'd welcome anyone's experiences/opinions, I have 2 pieces in a show
> coming up, and would be mortified if this happened to me again
> throughout the run of the show, since it is a much more important venue.
Dry mounting is a bit tricky. You have to have good tissue to begin
with. I got a box of the stuff once that just did not work well.
You need to dry the print and the mat board prior to mounting, and allow
the ensemble to cool under a suitable weight for sufficient time
afterwards. I can usually do a good job of this.
I have a print by Ansel Adams that is in perfect condition. It is dry
mounted. I bought it in 1974. I have prints by Judy Dater and Eva
Rubinstein and they are all perfect too. None of the professionals, in
other words, sell prints that are not just fine and stay that way.
>
> Thanks for saving my arse, AGAIN, folks!!
>
> Scratching head,
> Adrienne Moumin
>
--
.~. Jean-David Beyer Registered Linux User 85642.
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